CD Review: Zedashe's 'Our Earth And Water'

Zedashe
Our Earth And Water
Living Roots Music

Georgia (the country) is well-known for it's polyphonic vocal traditions. Zedashe continues the country's past with lively vocal tunes with some containing instruments. The twenty-six tunes represent a wide-breadth of music with accompanying panduri, chonguri, doli, diplipito, chiboni, garmoni, lute, bagpipe, clay drum, hand drum, and accordion. There are both male and vocal singers. The back of the CD case contains the track list with a few words about each song's origin, translation, and owner's rights. There are no in-depth liner notes and the song titles are in both Cyrillic and Roman Georgian. Some of the light instrumental accompaniment is indicative of other Central Asian and Caucasus music. Still, anyone interested in folk music from the region will love the instrumental accompaniment, as well the intriguing and somewhat meditative vocal style. ~ Matthew Forss

CD Review: Baraka's Double-Disc 'Shams'

Baraka
Shams [2-CD]
Sketis Music

The Latvian band, Baraka, brings us a double-disc release of music celebrating the contemporary styles of Tajikistan. However, the music incorporates the help of Latvian, Russian, Tajiki, Lebanese, Nepalese, and Afghani musicians for a truly world music result. The Farsi or Tajiki vocals are used sparingly in ballads, folk songs, and jazzy songs throughout. There is a strong element of world jazz and lounge music, but some of the songs incorporate more of a Middle Eastern vein. Nevertheless, there is something for everyone here--from hip hop vocals to swaying jazz and funky Tajiki melodies. The songs are all very solid compositions with clear vocals and instrumental splendor. There are some traditional instruments, including the iconic dutar, setor, rubab, sitar, duduk, dilraba, and saz. The contemporary sounds stem from keyboards, guitars, bass, piano, and horns. Baraka does a great job blending the past with the present by not resorting to ho-hum melodies and rhythms, but rather bringing to life various instruments and styles indigenous to the Central Asian Republics, the Middle East, and Western Europe and Russia. Nearly two-hours of music are included with liner notes. ~ Matthew Forss  

CD Review: Quraishi's 'Mountain Melodies'

Quraishi
Mountain Melodies
Evergreene Music

Quraishi is a New York City-based and Afghan-born rubab player with a penchant for reviving traditional Afghan music with a classical and courtly edge. The entire album is instrumental and contains a minimal mix of traditional instruments comprised of rubab, tabla, and dhol. There is a classical, Hindustani connection with Afghan music and that is evident throughout the album. There are only nine tracks, but the scintillating strings, thumping dhol and tabla, and overall melodies are worthy of repeated listens. The music does not contain electronic effects or guitars. Essentially, this is true Afghan folk music that celebrates Afghanistan's national instrument as the album's chief sound. Fans of traditional Afghan music will love its nostalgic simplicity. Furthermore, anyone with an interest in the music of Central Asia will appreciate the beautiful and serene musical qualities. Great job. ~ Matthew Forss

CD Review: Sakina's 'Roye Mi'

Sakina
Roye Mi
ARC Music

A native of Kurdish Turkey, Sakina is an Austrian and German-based singer and composer that represents the folk and traditional music of Kurdistan - a region that includes Turkey, Iraq, Syria, and Iran. The ten-track release is rich with jazzy, upbeat, and sometimes mournful melodies and rhythms that are reminiscent of mugam music indigenous to the Middle East. Sakina employs various instruments to the mix to create a rich sound and highly-textured musical outcome. Some of the instruments you will hear include the German flute, guitar, violin, cello, bass, drums, oboe, piano, bilur, kemane, duduk, qanun, tembur, zurne, davul, and arbane. The music drifts into various regions across the Middle East and Central Asia with ease. The beautiful instruments, heartfelt vocals, and excellent musical delivery makes Roye Mi a winner all-around. It is the quintessential work of Sakina's being. ~ Matthew Forss

CD Review: Meikhaneh's 'La maison de l'ivresse'

Meikhaneh
La maison de l'ivresse
Self-Release

France's Meikhaneh produces intriguing music inspired by Central Asia, the Mediterranean, and the Middle East. The group incorporates a little Central Asian throat-singing on "Jaran tsagaan aduu." Maria Laurent's sweet vocals and her stately morin khuur (horse-head fiddle) combines to form a unique blend of vocal and instrumental music. Maria is joined by Johanni Curtet on guitar, dombra, various chants, as well as Milad Pasta on tombak, daf, and udu drum. The music is more French inspired with wistful melodies and breezy vocals on "Mellekdal" and a more somber tone on "La fille qui tourne dans une piece blanche." "O leite e o pao" contains more of a flamenco or Portuguese flair. The final track, "Talyn theme," is an improvisational masterpiece with glorious instrumentation and enigmatic vocals that are sweet, sincere, and traditional. Meikhaneh is a group based in France, but their repertoire originates from other world regions. At any rate, Meikhaneh knows how to make an album that is entertaining, memorable, and highly-recommended. ~ Matthew Forss

CD Review: Various Artists' 'Kyzyl-Moscow III'

Various Artists
Kyzyl-Moscow III
Sketis Music

This collection of Tuvan throat-singing music spans twenty tracks and numerous, well-known artists from the region. You will hear the Tuvan Ensemble, Eduard Damdyn, Vadim Oorzhak, Ayas Kuular, Evgeny Saryglar, and Mai-ool Sedip. There are sung melodies, as well a throat singing accompaniment throughout. There are plenty of traditional instruments backing the vocals, including the igil, chanzy, kengirge, dungur, byzaanchi, and doshpuluur. These instruments are various percussion and string accompaniments that accentuate the gritty and soaring vocals. Kyzyl-Moscow is actually a festival held every year in Moscow since 2004. It was organized by George Arat Beletsky--a talented producer, musician, and music promoter. Anyone interested in the effervescent melodies of Tuvan instrumental music and throat-singing styles should check out Kyzyl-Moscow III. Very listenable. ~ Matthew Forss

CD Review: Baird Hersey & Prana's 'Sadhana'

Baird Hersey & Prana
Sadhana
Bent Records

The multiphonic, yogic, and kirtan-influenced vocal traditions of Tuva, Nepal, Tibet, and India are showcased with a variety of singers from different backgrounds on Sadhana. The new album, which means 'practice,' is a deeply-meditative romp into the yogic center of the universe clearly inspired by vocal traditions and nothing else. However, a few instruments pop up from time to time. Notably, drums, konnakol, ghatam, kanjira, and other percussion. Some of the singers include Amy Fradon, Kirsti Gholson, Baird Hersey, Julie Last, Julian Lines, Julie Parisi, Joe Veillette, Peter Buettner, and Bruce Milner. The trance-inducing vocal melodies are fairly angelic and spiritual with extended vocal-lines and various pitches that flow seamlessly throughout. As a bonus, Krishna Das is featured on the final track, "My Foolish Heart." Fans of world chants, tantric music, Central Asian music, kirtan, yoga, meditation, and spiritual music will find Sadhana divine beyond belief. ~ Matthew Forss    

CD Review: Kevin Seddiki and Bijan Chemirani's 'Imaginarium'

Kevin Seddiki and Bijan Chemirani
Imaginarium
World Village

With ties to France and Iran, Kevin Seddiki and Bijan Chemirani know how to bring us candid, pleasant, and globally-inspired, acoustic music. Kevin is a guitarist, percussionist, and zarb player. Bijan is also a percussionist with specialties in zarb, daf, udu, saz, and others. The thirteen tracks reflect an instrumental blend of Mediterranean, North African, and Central Asian melodies that are very ear-pleasing, while some are quite catchy. The casual music is imaginative, which probably stems from the aptly-titled album name. There are plenty of sonic embellishments that are experimental, creative, and visionary. There are some fast vocals on "On Saturn's Rings." Otherwise, the album is virtually void of vocals. The light music is perfect for relaxing, cafes, and lounging. Kevin and Bijan are truly inventors of a global sound that is anything but dull. ~ Matthew Forss

CD Review: Alim Qasimov And Fargana Qasimova's 'Intimate Dialogue'

Alim Qasimov and Fargana Qasimova
Intimate Dialogue
Dreyer Gaido

Azerbaijani father and daughter, Alim Qasimov and Fargana Qasimova, respectively, showcase their instrumental and vocal talents on Intimate Dialogue. There are only four songs in all, but the album runs nearly one-and-a-half hours long. The first song, "Mugham Shushtar," features Fargana's melismatic vocals with Ra'uf Islamov on kamanche, Ali Asgar Mammadov on tar, and Alim Qasimov on daf. "Mahur" features Alim Qasimov on vocals and abovementioned instrumentalists. "Mugham Bayati Shiraz" and "Eraq Tesnifi" contains both Alim's and Fargana's vocals, along with a stirring mix of instrumental arrangements that are very up-tempo in spots. The entire album was recorded live at Morgenland Festival Osnabruck in August 2009. The final round of applause at the end of the album sums it up quite nicely. ~ Matthew Forss 

CD Review: Salaam's 'Train To Basra...And Other Stories'

Salaam
Train To Basra...And Other Stories
Self-Release

With ties to American blues and Iraqi folk music, you know this is going to be a good one. Salaam is spearheaded by musician, lyricist, violinist, viola player, oud player, joza player, Dena El Saffar. She is backed by a splendid array of musicians, including Tim Moore on dumbek, tupan, and riqq; Amir El Saffar on trumpet; Lety El Naggar on ney and sax; Stephen Harms on bass; Sam Finley on guitars; Svetla Vladeva on accordion; and a few others. The result is a richly-textured work that includes Central Asian, Middle Eastern, and North African roots. There are even liner notes describing the song background. Vocals are not present on this album, but the instrumental arrangements intermingle and literally speak volumes. Twelve moving tracks round out the album. Fans of Iraqi music, instrumental Arabic music, Middle Eastern music, and percussion music will find it deeply satisfying. ~ Matthew Forss

CD Review: Gao Hong's 'Quiet Forest, Flowing Stream'

Gao Hong
Quiet Forest, Flowing Stream
Innova

Pipa master, Gao Hong, is a Chinese lute player with a knack for creating beautiful melodies and scintillating songs. On Quiet Forest, Flowing Stream, Gao enlists the help of acclaimed-veena player and vocalist, Nirmala Rajasekar, Michelle Kinney on cello, Biplab Bhattacharya on table, David Hagedorn on percussion, Shubhendra Rao on sitar, Joseph Schad on piano, and Kenny Endo on taiko drum. The galloping melodies are steeped in an Indo-China medley of song elements that work quite well together. The instrumental work is full of spritely melodies that represent a little Inner Asian influences, such as Mongolian folk songs. There are some vocals on "Butterfly" and "Celebration," but they are primarily used for an aural accompaniment. Fans of South Asian, Chinese, and Central Asian folk music should add Gao Hong to their collection. ~ Matthew Forss

CD Review: Qetiq's 'Rock From Taklamakan Desert'

Qetiq
Rock From Taklamakan Desert
Dreyer Gaido

Uyghur rock music? You bet. This is a compelling, energetic, and unforgettable romp through the rock music of northwest China's Xinjiang province. There is a good combination of electric guitar, bass, drum, and vocals. The vocals are at times akin to Pearl Jam's lead singer. However, the music is not as hard as Pearl Jam. There are a plethora of traditional instruments in the mix, which includes dutar, citar, darbouka, riqq, and daf. There is even a little throat-singing on "Qara Jorgha," which plaintively accompanies the sweet sounds of the dutar. The emotive "Ag Bayan" is a great vocal and instrumental ballad - no matter what language it may be in. These songs come from a Uyghur and Kazakh perspective. Each track contains beautiful melodies and instrumentation that cannot be missed or ignored. Anyone interested in contemporary rock music with a traditional twist from China's northern deserts will love this one. ~ Matthew Forss

CD Review: Shahrzad Sepanlou's 'Yek Rooz'

Shahrzad Sepanlou
Yek Rooz (One Day)
Self-Release

Born in Tehran, Iran and based in California, Shahrzad Sepanlou is a talented musician and vocalist that incorporates piano, percussion, bass, bouzouki, sax, and keyboards on her latest release, Yek Rooz. The jazzy, contemporary music is sung in Persian, but the instrumentation is top-notch throughout. There are hints of classical, jazz, and pop sounds indicative of Azerbaijan and Armenia, too. The Central Asian songstress is joined by Faramarz Aslani on "Maa." The musical arrangements of "Komakam Kon" are particularly enthralling, because the piano, emotive vocals, and ambulating percussion are classy and nostalgic with a modern twist. The music is not overly-showy, but the dance beat of "Che Konam" and electric guitar on "Ghazal Foroush" reflects a more youthful ambiance. Yek Rooz has everything for the discriminating listener--soft melodies, sensual vocals, dance beats, and reflective instrumental sections. Fans of Persian popular music should check out Yek Rooz today! ~ Matthew Forss

CD Review: Persian Azeri Trio's 'Persian Azeri Project: From Shiraz To Baku'

Persian Azeri Trio
Persian Azeri Project: From Shiraz To Baku
ARC Music

The Persian Azeri Trio consists of Iran's Pejman Hadadi on percussion and Hamid Motebassem on tar and setar. The kamancha is played by Azerbaijan's Imamyar Hasanov. Together, the trio perfect traditional modes of musicianship for a completely acoustic concoction of melodic modes, folk dances, and improvisational forms. The wholly instrumental works provide a perfect environment for each instrument to shine through and sound harmoniously with each other. There are plaintive moments, as well as more up-beat tempos that take on Central Asian charm. The efficient playing styles and instrumental arrangements are well worth a listen. Be careful; as the instrumental tones are addictive. Liner notes are in English and German. This is the sound of the Silk Road. ~ Matthew Forss

CD Review: SoSaLa's 'Nu World Trash'

SoSaLa
Nu World Trash
DooBeeDoo Records

SoSaLa is Sohrab Saadat Ladjevardi, a native Persian, who has lived all over the world. As a composer, saxophonist, and music editor, SoSaLa incorporates Central Asian rhythms and instrumentation with free jazz elements and passionate vocals instilling a sense of peace and unity in Iran and throughout the world. Based in New York, SoSaLa seems to have not only acquired the native influences, but the North American styles of jazz, world music, and improvisation are also evident throughout the album. The music is not particularly modern, but it contains whirling rhythms of folk, jazz, and Mediterranean/Middle Eastern music. SoSaLa's primary vocal delivery is related to spoken word--mostly observed in poetic artforms. At any rate, SoSaLa's poetry fills the album with thoughtful ideas and personal observations that fit nicely amidst a backdrop of percussion, strings, and sax. ~ Matthew Forss

CD Review: Mehdi Rezania's 'Salute To Sun'

Mehdi Rezania
Salute To Sun
Self Release

Born in Iran and based in Canada, Mehdi Rezania is a talented santur (hammered dulcimer) master highly influenced by another santur master, Ardavan Kamkar. The music is rich with sparkling tones and traditional melodies. Each song contains detailed notes on its inspiration in the liner notes in English. One such track, "A Child In A Garden," is about Mehdi sleeping in too late on Saturdays. The four, brighter musical notes mimic the phrase: "Time to get up....Time to get up..." repeatedly, even though there are no vocals. Vocals are present on "Drinking to Toos," by Hassan Kasayi. Mehdi accompanies Hassan on santur. The track is an ideal example of Persian classical music. Other vocals are on "Salute to Sun." Notably, ten tracks are listed in the liner notes, but only nine are included. Still, nine tracks contain plenty of music for the Persian classical and santur fan. ~ Matthew Forss

CD Review: Sevara Nazarkhan's 'Tortadur'

Sevara Nazarkhan
Tortadur
Sevara Music

Sevara leaves the flashy, pop-oriented flavor of earlier works behind--the original tone of Ne Kechar and Sen. On Tortadur, Sevara returns to the traditional form, incorporating all of the characteristic instruments, including the doira, nay flute, and dutar. There are no drum kits, bass, guitars, or showy electronic adornments. Instead, the music is stripped-down and incredibly inviting. Sevara’s vocals are rather pensive and restrained compared to other artists. The folk music of Munadjat Yulchieva is the most representative Uzbek musician in a similar style. However, Sevara’s music is quieter from a vocal perspective. Nevertheless, Sevara excels in a traditional form without sacrificing integrity or quality. Sevara has matured as a musician and is now in a league all her own. ~ Matthew Forss

CD Review: Pezhham Akhavass 'Percussions'

Pezhham Akhavass
Percussions
Self Release

The San Francisco-based percussionist extraordinaire, Pezhham Akhavass, is a whiz at the tombak and daf. Primarily focused on Central Asian/Middle Eastern percussion, Pezhham presents us with a solo set of thirteen songs on various instruments without electronica accompaniment or vocals. In effect, the sounds of the percussion instruments are the voices of the songs. Pezhham plays the tombak, daf, damam, dosar kotan, frame drum, tamtam, finger bells, and udu. The songs are noted in rhythmic time signatures of 2/4--on up to 10/8. The Iranian dosar kotan instrument reflects Pezhham's ancestral background. The lack of vocals or additional instrumentation does not affect the musical project. Fans of Hossam Ramzy may be interested in the percussive sounds of Percussions. Pezhham does not miss a beat. ~ Matthew Forss 

CD Review: Tareq Abboushi & Shusmo's 'Mumtastic'

Tareq Abboushi & Shusmo

Mumtastic

Self-Release

The Palestinian-raised Tareq Abboushi celebrates a progressive set of Middle Eastern music with a flair for the instrumental, funky, and danceability of a New York-based quintet of modern music. Though, the classical Arabic sound is inherent in all of the tracks. Mumtastic is roughly translated from Arabic to mean 'fantastic' and 'excellent'. The contemporary beats are not created by electronic wizardry or electronic guitars. Rather, the music is by the buzuq (lute), clarinet, zurna, drum set, congas, cajon, timbales, bass, riq, durbakkeh, cymbals, and assorted percussion. Some vocals are provided by Tareq Abboushi, though the majority of the songs are entirely instrumental. Overall, Mumtastic is a riotous musical journey with influences ranging from the Balkans, the Mediterranean, North Africa, Middle East, and Central Asia. For listeners desiring an ethnic dance experience without much of the modern-day electronic accompaniment, Mumtastic will surely please all senses. ~ Matthew Forss

CD Review: Amjad Ali Khan/Scottish Chamber Orchestra/David Murphy

Amjad Ali Khan

Samaagam

World Village

Samaagam, which is Sanskrit for "confluence" or "flowing together," is an astute and accurate title to characterize the sarod and orchestral music of Amjad Ali Khan and the Scottish Chamber Orchestra. The first three tracks are ragas that are each around seven minutes in length. The instrumental accompaniment is limited to the sarod and tabla without any vocalizations. The remainder of the instrumental songs are arranged in three groups with three songs developed by Amjad, seven traditional ragas in short duration of thirty seconds to just under four minutes, and the final set includes the same three ragas in the beginning set with orchestral accompaniment. Samaagam is an instrumental and orchestral fans paradise. In fact, some of the compositions resemble the classical music of the Mongolian steppes or Central Asia. Amjad is sure to strike a 'chord' with every listener within earshot. An informative booklet discusses the music in-depth in English and French. ~ Matthew Forss